Contact me

Do you want to know anything further about my art, or my ideas ?

Do you have a similar style, or would you like to discuss other artist’s ideas which are similar ?

Are you interested in purchasing one of my pictures, or discussing a commission idea ?

Please contact me using the following e-mail address 






I am happy to answer any questions on my art

9 thoughts on “Contact me

  1. David Kilpatrick

    Would you mind telling us more about the “Knight’s Tour Fragments” painting please? I greatly appreciate your site and have completed my first continuous line abstract recently and hope to post it on RedBubble soon.

    1. mickburton2 Post author

      Glad you like my web site. Your style is good – your colour washes bring the pictures to life. My “Knight’s Tour Fragments” does get interesting comments. A couple of weeks ago a professional artist suggested that I did it six foot high and show it with several more like it (who wouldn’t want to do that with their art!).

      It was based upon a continuous line drawing called “Knight’s Moves”, which you can see in my Gallery 1965-73, where I followed a knight’s moves around the chess board in a way where every square was visited once only and I finished up where I started (I used a method I developed when researching using continuous lines to decide colouring for the Four Colour Map Theory in the early 1970’s). I did several versions all with one line.

      I wanted to colour the “Knight’s Tour” but was not happy with the initial result. My alternative was to use one of the other version’s parallel lines in one direction only and added three sides to each to make them all into overlapping squares. I then used prime colours for the squares and where they overlapped produced the natural mix, so the effect was like many overlapping pieces of coloured glass.

      The original of 1973 was in poster colour on paper and exhibited at Leeds General Infirmary in an invitation exhibition. Unfortunately it was lost years ago in my garage due to water damage. Recently I painted it again in acrylics.

  2. David Kilpatrick

    Thanks for the further info Mick. I have been trying to work out a way to work from the drawings available at this excellent site:

    The problem I have with my style is that all the drawings on the site have a single line connecting the centre of the starting and finishing square and invariably you end up with some very small areas with three lines nearly but not quite crossing at one point.

    In contrast your method seems to have always ensured a minimum square that is big enough to see and easier enough to paint. My method would have areas so small that once you added the black lines the enclosed area would be too small aesthetically.

    I’ll keep thinking about it. Something will gel eventually. I’d like a method of representing the knight’s tours that can be applied purely objectively. Your method sounds like it is somewhat subjective?

    1. mickburton2 Post author

      I must admit that I worked out how to do the Knight’s tour in 1973 without referring to anywhere else and so do not know my way around the history. I have looked at the website you mention (mayhematics) and there seem to be lots of illustrations so I do not know which one you wish to discuss. If you tell me the specific drawing I can look at it. I can also explain how I do the single continuous line.

  3. David Kilpatrick

    How about this one for reference purposes to explain the issue I have:

    If you look at the top right corner of the board there are three very small triangles formed when three paths nearly cross at one point but don’t. If I was to reproduce the closed line drawing on my A2 paper and apply the continuous overdraw method to allocate colours to each area those areas would be smaller than I’d like aesthetically – especially once I went over the lines with black pen. I could slightly move the start or end point of one or more of the lines involved but would then become a “fudged” outcome rather than a pure “algorithmic” approach to representing the knights tour pictorially. Another approach I’ve thought of is joining the start and finish square of a move by a series of step lines i.e. only vertical or horizontal, but again it ends up being something you’d have to work out on a case by case basis. What I’d like to work out is a straight forward consistent method for modifying the diagrams so that you don’t get those tiny areas.

    Would certainly be interested in more info on your approach but only if it’s not too hard (time consuming) to document for you. I’m sure you’d rather be working on your current painting!

    1. mickburton2 Post author

      David, thanks for the example which certainly illustrates the limiting nature of using the centres of all squares on the chess board which means that these very small areas are difficult to avoid. I had the same problem in 1973 with my own construction and rather than move the lines around I decided to do something significantly different.

      My knowledge and feelings about single continuous lines have now moved on. I think it is alright to modify the rules, just like nature does (or like Picasso or Dali would). You can keep the line visiting every square but vary where you land within the square – so I think “fudging” is alright, particularly in this case where I feel that the observer will appreciate that this has been done to maximise the colouring. The relationships of all the areas to each other will have been retained.

      This copyright free example is a good one to use for my alternate overdraw and colour allocation method. I can see from my experience that the range of colours in this example should be wide and the extreme colours should fall in good places.

      If you rotate the example once it could even be a camel’s head and hump.

      I would very much like to see what you do with this, or any other example you use.


  4. Peter Prevos

    Dear Mick,

    I love your work on converting Haken’s Gordian Knot into a work of art.

    Like yourself, I am fascinated by knots and collect examples of the unknot. I have written an article on my website about trivial knots and included your work:

    I hope you don’t mind me showing your artwork on my page. If you do, please let me know and I will remove it.



    1. mickburton2 Post author

      Thank you for including my painting of Haken’s amazing knot in your “Unknot Hall of Fame”. You have included a fascinating variety of knots and their creators.
      It took me 40 years to realise that I could adjust my Yellow, Green and Blue Elephant into the more natural Twisting, Overlapping, Envelope Elephant. Consequently, it took only a few minutes to decide that I could apply this method to Haken’s Gordian Knot.
      After I subsequently saw mathematician Timothy Gowers’ request for a picture of aspects of the knot on Mathoverflow “Are there any very hard unknots?” (updated 7 April 2013), it was much harder to write up details of the loop with twin lines which twist 36 times to make up the Gordian Knot. This was covered in my post of 5 June 2015.
      I did a follow up post on 9 May 2018 and Timothy Gowers’ comment commenced “I’m delighted that my question, which still interests me, provoked this response.”.
      My original “Alternate Overdraw” and “Colour Sequence” applications to continuous lines had no regard for “overs” and “unders”, which are essential in identifying whether a loop is Knot or an Unknot. However, since grappling with the Gordian Knot, I have applied “overs” and “unders” in some of my recent pictures – “Tour of Britain”, “Iguana” and the portrait of “Zena”. These are definitely Unknots!


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